Fenner

CALL FOR SUBMISSIONS: Database of Eco Public Art

Curating_Cities

The Curating Cities Database maps the increasingly important and emerging field of eco-sustainable public art. It is developed as a resource for researchers, academics, artists, curators, educators, commissioning agencies and sponsors working in the field as well as those interested in promoting sustainability via public art. In addition to descriptive information, the database evaluates the aims and outcomes of each project as well as the external constraints (and subsequent negotiations) that influence the production of public artworks. eco-publicart.org

EDITORIAL COMMITTEE

Jill Bennett, Felicity Fenner, Lindsay Kelly and Veronica Tello. Sustainability Consultant: Jodi Newcombe.

INTERNATIONAL ADVISORY COMMITTEE 

T.J Demos (University College London); Ian Garrett (York University/Director, Center for Sustainable Practice); Natalie Jeremijenko (New York University/Director of Environmental Health Clinic); Sacha Kagan (Leuphana University Lüneburg/Founder of Cultura21, Network for Cultures of Sustainability and the International Summer School of Arts and Sciences for Sustainability in Social Transformation); Adrian Parr (University of Cincinnati).

We invite submissions from curators, researchers, academics and creative practitioners.

PURPOSE

Our intention is to develop a resource that will be of value to all those interested in public art, including specialists and the broader community. The database entries are concise but designed to go beyond the short profiles readily available on other sites. To that end, we have developed a template and guidelines designed to elicit key information regarding the sustainability (as conceived within the particular project), legacy, engagement and circumstances of an artwork’s production. Recognising that public art is not always well served by bureaucracies, entries may also record useful information on external constraints and how these were negotiated.

SCOPE

We are looking to achieve expansive coverage and are open to suggestions for inclusion (geographic remit is global). Generally, we interpret public art as a creative art form produced for non-gallery contexts (exceptionally, it may include gallery exhibitions with an explicit external engagement focus). We define “eco-sustainability” to signify an evident interest in ecological, sustainable and/or environmental concerns. It is not our intent to ‘police’ the definition of eco-sustainable public art: we are keen to include work that challenges definitions and expectations. As a general indication, we are interested in substantial work that actively engages with its environmental context (rather than in work that merely represents or symbolises an environmental concern).

SUBMISSION and REVIEW PROCESS

Submissions are peer-reviewed. Each submission should focus on a particular public art project, which must be proposed to the Editorial Committee in advance. Contributors are welcome to profile their own work, either by evaluating their own project or by referencing a larger study or thesis written by them on the same subject. We also invite academics that research and teach in this area to encourage student submissions. We are happy for the template to be used for course assessment exercises and can confer with lecturers regarding the process by which a batch of entries from a class can be peer reviewed/considered for inclusion in the database.

For the template and sustainable evaluation framework and to discuss a potential submission please email v.tello@unsw.edu.au

AFTA PAN Public EcoArt Webinar and upcoming Pre Conference Panel San Diego

Andrea Polli, Queensbridge proposal for alternative energy (NYC) 2005

This post comes to you from EcoArtSpace

On May 4th ecoartspace had the opportunity to participate in an online webinar through Americans for the Arts out of Washington D.C. For several years now their Public Art Program Manager, Liesel Fenner, who previously worked for the New England Foundation for the Arts in Boston where she developed a partnership between the NPS and the NEA called Art & Community Landscapes by inviting artists to participate in education and restoration of public lands, has been an advocate of ecological art. For the webinar, Fenner invited a group of ecological arts consultants and a public artist to the table to share valuable information with the public art community on Going Green: How to Align Public Art with Green Building and Infrastructure. During this 90-minute presentation some 37 participants from across the United States were able to access important information on a rapidly developing field of artistic practice.

The first presenter was Mary Jo Aagerstoun, President of EcoArt South Florida. In her talk, Public EcoArt Integration: Transforming Policy she outlined case studies and policy examples for integrating art that makes green technologies visible into the design and construction of green building as well as public infrastructure. Rebecca Ansert, Founder and Principal of Green Public Art in Los Angeles gave a comprehensive presentation entitled Green Building: Where Does The Art Fit In? to examine how public art can meet LEED certification points as well as materials usage. Emily Blumenfeld, who is currently based out of London, and formerly from St. Louis, Missouri where she co-founded Via Partnership, reviewed a Public Art Master Plan that she co-authored for the Environmental Protection Department for the City of Calgary, Canada, known as the Expressive Potential of Utility Infrastructure. And, to wrap up the webinar, public artist Mark Brest van Kempen from Oakland, California presented several projects in various forms of completion, exemplified from the artists perspective, the numerous ways in which art can transform public space from an ecological perspective.

Patricia Watts, founder and west coast curator of ecoartspace gave a short talk on the artist selection process, which included suggestions for extended deadlines on RFQs, workshops for ecological artists who are new to the public art process, suggestions for who to bring to the table when selecting artists including Environmental Services Department employees and local biologists/ecologists, as well as art curators who have worked with many of these artists in a museum context. Importantly it was impressed upon public arts administrators to be proactive in bringing these types of projects to fruition. Often it is the case that administrators do not see themselves as collaborators with the artist and for these types of projects it is imperative that as much information as possible be provided to the artist as early as possible to be able to identify a crucial point of integration in the planning and construction process. Administrators will need to think outside their job description to make these projects successful.

The Going Green Webinar will be available to the general public on demand through AFTA after June 1st for $35 per download HERE. There will also be a follow up Public Art Preconference workshop at the AFTA Annual Conference in San Diego on June 15th, entitled Green Infrastructure: Re/Generation—Environmental Art & Design: Now and How including presentations by Rebecca Ansert, public artist and administrator Vaughn Bell, landscape architect Christine Ten Eyck, and Patricia Watts of ecoartspace.

Listen in online or see you in San Diego in June!

Links to other pioneering Ecological Public Art Plans include:

 

ecoartapace is one of the leading international organizations in a growing community of artists, scientists, curators, writers, nonprofits and businesses who are developing creative and innovative strategies to address our global environmental issues. We promote a diverse range of artworks that are participatory, collaborative, interdisciplinary and uniquely educational. Our philosophy embodies a broader concept of art in its relationship to the world and seeks to connect human beings aesthetically with the awareness of larger ecological systems.

Founded in 1997 by Tricia Watts as an art and nature center in development, ecoartspace was one of the first websites online dedicated to art and environmental issues. New York City curator Amy Lipton joined Watts in 1999, and together they have curated numerous exhibitions, participated on panels, given lectures at universities, developed programs and curricula, ad written essays for publications from both the East and West Coasts. They advocate for international artists whose projects range from scientifically based ecological restoration to product based functional artworks, from temporal works created outdoors with nature to eco-social interventions in the urban public sphere, as well as more traditional art objects.

ecoartspace has been a project of the Social and Environmental Entrepreneurs in
Los Angeles since 1999.

Go to EcoArtSpace